chapter 19 italy 1200-1400 gothic pisa, florence, siena

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Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

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Page 1: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Chapter 19

Italy 1200-1400

Gothic

Pisa, Florence, Siena

Page 2: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 3: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Key Ideas

• Late Gothic art in Italy forms a bridge between Medieval and Renaissance art

• The artist becomes an important historical personality whose life story can be traced and recorded

• Aspects of ancient sculpture are revitalized under the artistic leadership of the Pisani family

• The Sienese and Florentine schools of painting dominate trecentro art.

Page 4: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Historical background

• The art movement that we today call the Renaissance began in the city-states of Italy in the Late Gothic period at the very end of the Middle Ages. Art was only one component of an ever-evolving world in which the urge to explore, to investigate, and to discover motivated people as never before.

Page 5: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Background

• Economic changes throughout Europe, centering on banking and commercial interests in Italy, began to emerge as powerful forces in the shipment and circulation of goods throughout the region. The European taste for exploring new markets and reaching beyond the continent for the exotic eventually led ships to sail first around Africa, and then to the New World.

Page 6: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

History

• The exploration of the globe was a facet of the universal urge to uncover and survey seemingly everything. Humanists began investigating the classical past as never before, restoring life to literary and artistic wonders of antiquity and adapting them to a modern audience.

Page 7: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

History

• With Cimabue and Nicola Pisano, the first traceable and coherent artistic careers begin to emerge. Artists’ signatures indicate their rising status- a radical break from the general anonymity in which earlier medieval artists had roiled and a need to imprint their accomplishments on works they felt particularly proud of.

Page 8: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Italian Gothic Architecture

• Stress width as well as height• Horizontal emphasis is so strong that the height

seems restrained• Interiors feature one story of arches and a

second of windows.• Wide naves focus attention on Apses backlit by

tall windows• Rib vaults open up the clerestory to admit

volumes of light filtered by thin masses of pastel colored stained glass windows.

Page 9: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Arnolfo Cambio and others, Florence Cathedral (Santa Maria del Fiore), 1296 CE, Giotto designed the campanile.

•Wide, open expansive interior

•Broad heavy piers allow side aisle spaces to flow into nave: very widely spaced arches

•Dark interiors of French Gothic are replaced by a lighter interior

•Campanile: crisply divided horizontal sections stack floors one above the other; variously colored marbles inspired by Italian Romanesque buildings; patterns of rectangular blocks of marble cover the surface.

•Façade finished in 19th century

Page 10: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 11: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Florentine Painting

• The trend in Gothic sculpture is to liberate works from the wall, allowing them to occupy space independent of their architectural framework. Italian painting of the late Gothic period is characterized by large scale panels that stand on their own.

• Wall paintings (frescoes and mosaics) emphasized the flatness of the wall surface, encouraging artists to produce compositions that were frontal and linear. Late Gothic artists preferred fresco and tempera, which enabled them to shade figures convincingly and reach for a three dimensional reality.

Page 12: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Painting

• Cimabue accepted Byzantine formulas , maniera greca.

• Giotto and his followers substantiated masses and anchored figures to ground lines.

• Expressive faces and meaningful gestures, emotions become more dynamic

• Compositional arrangements move away from the center of the painting.

Page 13: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Cimabue, Madonna Enthroned, 1280-1290, tempera on panel, Uffizi, Florence

•Maniera greca: figures rise in a hieratic Byzantine manner

•Emphasis on flatness of forms: angels hover around throne

•Long thin elegant fingers; strong verticality•Flecks of gold define drapery folds

•Virgin as the Throne of Wisdom points the way to Christ as the way to salvation

•Mary with Byzantine shaped face and stylized features

•Not Byzantine in size; Byzantine icons are portable

Page 14: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Giotto, Madonna Enthroned, 1310, tempera on panel, Uffizi, Florence

•Weight, size, solidity, three-dimensionality, bulk

•Mary’s breast and knees revealed beneath drapery

•Angels stand more naturally around the Gothic throne

•Perspective indicated in the positioning of the arms of the throne and the shadowing of the steps

•Some faces turn away from the picture plane

•Mary as the mother of Christ, but also becomes more human

Page 15: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 16: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 17: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Giotto, Lamentation, from the Arena Chapel, 1305-1306, fresco, Padua, Italy

•Arena Chapel built by Enrico Scrovegni to expiate the sin of usury through which his father had amassed his fortune; some narrative scenes chosen for the chapel illustrate Biblical episodes of ill-gotten gains

•Shallow stage, figures occupy a space pushed forward toward the picture plane

•Diagonal cliff formation points to main action daringly placed in lower left-hand corner.

•Modeling indicates direction of light, light falls from above right

Page 18: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

•Range of emotions: heavy sadness, quiet resignation, flaming outbursts, despair

•Figures seen from the back seem to isolate the main action

•Sadness of scene emphasized by grieving angels, barrenness of tree

Page 19: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

pinnacles

Crowning panels

Main panels

Predella

The Sienese Altarpiece by Andrea Vanni

Page 20: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

The forms parallel elements of A Gothic cathedral: the main panel acts as the nave, the side panels as side aisles, the pinacles as the roof and the predella as the crypt

Page 21: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Sienese Painting

• Sienese painters used a decorative style of painting, more like Northern European art.

• Figures are thinner, elegant and courtly

• Colors are decorative, drapery is less defined by mass than by thin fluttering of the drapery and zigzagging of complex linear patterns

Page 22: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Sienese Painting

• Drapery is more likely to curve artistically in flouncing series of ripples

• Use of imitation marble patterning on thrones or pavements.

• Hierarchy of scale remains, figures are in proportion to one another, figures dominate architectural settings.

Page 23: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Sienese Painting

• Sienese painters explore three dimensionality, carved deeply into picture plane to create interiors

• Motif: opening of a door frame or room wall, revealing what lies beyond, as a theatrical stage

• Simon Martini, International Gothic style he spread to Europe

Page 24: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Duccio, Maesta’, main panel: 1308-11

•For the main altar of Siena Cathedal, the centerpeice of a cluster of Marian works

•Only signed and documented work of Dudcco to have survived

•Richest and most complex altarpiece of its time

Page 25: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

• Hieratic arrangement of figures in three horizontal registers, Mary and Jesus in the center, saints kneeling below and standing on either side, and angels looming between saints’ halos in top row

Page 26: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

•Fluttering, light drapery lines fall in zigzag patterns

•Decoratively patterned throne folds outward to reveal Mary and Jesus enthroned

Page 27: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 28: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Simon Martini, Annunciation, 1333, tempera on panel, Uffizi Florence

•Grain of marble floor retreats in perspective

•Elegant figures, drapery, ornament

•Use of gold dominant

•Angel: white brocade is beautifully and subtly modeled

•Mary: shrinks back in modesty, picture of courtly medieval woman

•Vase of white lilies symbolizes Mary’s purity

Page 29: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

•Traditional gold wall background in effect becomes the rear wall

•Gestures are courtly and aristocratic

•International Gothic style

Page 30: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 31: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Pietro Lorenzetti, Birth of the Virgin, 1342, tempera on panel

•Part of the Marian cycle of paintings in Siena Cathedral

•Pioneering attempt a building an interior space, with three parts of the triptych suggesting a single common viewpoint

•St. Anne gives birth inside a Sienese home; everyday items depicted

•St. Joachim, Mary’s father, is in an antechamber hearing the news of the birth of his daughter

Page 32: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Windows open up to reveal further arches and walled spaces beyond, expressing depth: innovative use of pier that establishes picture plane and does not separate the space of the center and right-hand panels

Page 33: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Ambrogio Lorenzetti, Effects of Good Government in the City, 1338-1340, Public Palace, Siena

Page 34: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

•Located in the Public Palace in Siena where judges met to adjudicate issues of Sienese law

•Highly literate society for its time; inscriptions were in Latin and Italian; Ambrogio Lorenzetti’s signature is prominently displayed

Page 35: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

City: cityscape scene from high viewpoint, prosperous town run by efficient laws; dancing in the streets symbolizes the success of good government, crafts and trades flourish; schools are open; new buildings under construction; emphasis placed on food being brought into the city

Page 36: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Ambrogio Lorenzetti, Effects of Good Government in the Country, 1338-40, Public Palace, Siena, Italy

Page 37: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

•Country: peaceful villas set in landscape again viewed from above, filled with vineyards, orchard, and bountiful harvests; distant port for the shipment of goods; figure of Security holding a gallows insures fair justice for all; aristocrats leave town to go falconing; farmers bring livestock and grain to market.

•Broadly lit painting to signify daytime, with a blue-black sky to offset the colors

Page 38: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Italian Gothic Sculpture

• Italian Gothic sculpture was influenced by classical models. Although classic never passed from the Italian art, Nicola Pisano built figures of solid mass and firm, realistically arranged drapery. There was a tendency to create compositions that were crowded with various episodes of horror vacui(fear of empty spaces), stacked on top of one another. The main scene dominates because of its size, but subsidiary scenes compete for attention in available blank space

Page 39: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Nicola Pisano, The Pisa Pulpit, 1259-1260, Pisa Baptistery, Pisa, Italy

Pulpit: five panels circle around the elevated pulpit; Gothic Corinthian capitals closer in design to ancient capitals than contemporary French; round arches cusp in French Gothic style; antique lions at the base; nude heroic figure of Hercules symbolizing Christian bravery and strength

Page 40: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena
Page 41: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Annunciation and Nativity: very crowded composition of figures on top of one another; drapery forms logically around bodies that are stocky and solidly conceived; as in Italian painting, facial expressions and gestures enliven figures that communicate with each other.

Page 42: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Giovanni Pisano, Pisa Pulpit, 1302-1310, marble, Pisa Cathedral

•Figures are widely spaced and scenes separated

•Dynamic movement of figures, they are not a static as Nicola Pisano’s

•Deeply cut sculpture creating shadows

•Inspired by French Gothic models more than classical Roman ones.

Page 43: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Vocabulary Words

• Allegory

• Altarpiece

• International Gothic Style

• Maesta’

• Maniera greca

• Predella

• Tempera

• Trecentro

Page 44: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Multiple Choice

1. Which of the following painters is closest to the spirit of maniera greca?

A. Cimabue

B. Giotto

C. Duccio

D. Simone Martini

Page 45: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

2. This painting an example of International Gothic because

A.It has a predella

B.It is a religious scene

C.It is dedicated to Mary

D.The costumes are lavish

Page 46: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

3. This painting is from the Sienese Gothic School because

A.There is no exploration of depth

B.The altarpiece has large gables

C.The drapery falls in elegant, complex patterns

D.There are saints in the side panels.

Page 47: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

4. The artist of this work is

A.Giotto

B.Simone Martini

C.Duccio

D.Pietro Lorenzetti

Page 48: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

5. Unlike earlier medieval works this large painting

A.Is done in mosaic

B.Stands independently

C.Contains symbolism

D.Is an allegory

Page 49: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

6. Paintings, even major altarpieces, are grouped around a theme. The ones executed for Siena Cathedral were centered on

A.The life of Jesus

B.The Annunciation and Nativity

C.The life of Mary

D.A peaceful city

Page 50: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

7. Paintings are often done for a particular location. This work is a fresco painted for

A.Siena CathedralB.The Public Palace in SienaC.Florence CathedralD.Pisa Cathedral Baptistery

Page 51: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

8. The significance of the location of this work lies in its message that

A.Faithful people go to heavenB.Happy people live lives of charity and loveC.Good government leads to a happy citizenryD.The morally correct will prosper no matter what the city government does

Page 52: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

9. The artist who signed this work is

A.DuccioB.Simone MartiniC.Ambrogio LorenzettiD.Nicola Pisano

Page 53: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

10. When artists left their apprenticeships, their careers were directed by

A.Patrons

B.The church

C.Guilds

D.Master artists

Page 54: Chapter 19 Italy 1200-1400 Gothic Pisa, Florence, Siena

Essay, 10 minutes

This work was done in Late Gothic Italy in either the Florentine or the Sienese tradition. In which tradition would you place this painting and why?